The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie.

Indigenous cultures, with their
unfamiliar beliefs and practices, and their relationships to an earlier
period of land settlement, are frequently appropriated by gothic
fictions. In contrast, forms of the gothic created by Indigenous
cultures are few. Within a consideration of this global issue, this
chapter will explore the New Zealand television series Mataku , an

).
In the next chapter, ‘Maori tales of the
unexpected: The New Zealand television series Mataku as an
Indigenous gothic form’, Ian Conrich reflects upon Mataku
as an active engagement between non-Western and Western cultural
practices. Beginning with a survey of the ways in which Indigenous
cultures have been appropriated for gothic screen fictions, Conrich then
turns to forms of Indigenous gothic